Author: Eleonora Acerra
E-mail: eleonora.acerra@umontpellier.fr
Institution: University of Montpellier
Year of publication: 2017
Source: Show
Pages: 11-28
DOI Address: https://doi.org/10.15804/IW.2017.08.01
PDF: iw/08_1/iw8101.pdf

Children’s Literature in the World of Apps: Hypermedia Adaptations of Classic and Contemporary Picturebooks

This analysis aims to describe the main features of hypermedia literary apps for children by considering a corpus of adaptations of classic and contemporary picturebooks. In particular, it highlights the multimodal nature that defines hypermedia texts and their meanings, as well as the interactivity that programs different degrees of readers’ involvement and the various ways of using and exploring the virtual space of touchscreens. By describing some hypermedia features deployed in a selection of classic texts, I focus on the hypermedia adaptations of three contemporary Italian picturebooks: Iole, la balena mangiaparole by Gioia Marchegiani, Amico ragnolo by Gloria Francella, and Love, the App by Alberto Vanni. These were chosen to illustrate the significant literary use of several textual materials, the implementation of different types of interactivity, and the recreation of the material characteristics of the print edition through the virtual page. Founded on the appropriation and re-interpretation of the source, the adaptations considered here show a mix of literary intents and digital technologies, while highlighting the substantial homogeneity of the hypermedia strategies used in adapting classic and contemporary texts.

Considerando un corpus di adattamenti di opere classiche e di albi contemporanei italiani, il lavoro si propone di determinare alcune caratteristiche della letteratura ipermediale per l’infanzia. Saranno in particolar modo esaminati i tessuti compositi e multimodali che costituiscono il testo ipermediale e permettono di costruirne il senso; l’interattività, che prevede diversi gradi di coinvolgimento del lettore; alcuni modi di utilizzo ed esplorazione degli spazi virtuali degli schermi tattili. Muovendo dall’esame dei dispositivi in opera in una rosa di trasposizioni di testi classici, ci si soffermerà in particolare sulle versioni ipermediali degli albi contemporanei di Gioia Marchegiani (Iole, la balena mangiaparole), Gloria Francella (Amico ragnolo) e Alberto Vanni (Love, the App), scelti rispettivamente per illustrare la molteplicità di materie testuali, il ricorso a diverse tipologie di elementi interattivi e un uso degli spazi della pagina virtuali tale da restituire le caratteristiche materiali delle edizioni cartacee. Fondati sull’appropriazione-interpretazione di elementi testuali e sull’utilizzo a fini narrativi delle possibilità tecnologiche fornite dagli schermi tattili, gli adattamenti ipermediali qui considerati permettono di verificare al contempo l’ipotesi della sostanziale omogeneità di strategie e dispositivi ipermediali in uso nelle due categorie di testi, indipendentemente dalla loro diversa legittimità patrimoniale.

REFERENCES:

  • Aarseth, E. J. (1997). Cybertext: Perspectives on ergodic Literature. Baltimora(USA): Johns Hopkins University Press.
  • Acerra, E. (2016). Poétique des oeuvres hypermédiatiques dans un corpusd’adaptations de littérature pour la jeunesse. Poétiques et esthétiquesnumériques tactiles: Littérature et Arts. Cahiers virtuels du LaboratoireNT2 n. 8. Disponibile da: http://nt2.uqam.ca/fr/cahiers-virtuels/article/poetique-des-oeuvres-hypermediatiques-dans-un-corpus-dadaptationsde
  • Aliagas, C., Margallo, A. M. (2015). iPads, Emergent Readers and Families.In M. Manresa e N. Real (a cura di), Digital Literature for Children.Texts, Readers and educational Practices (pp. 155–171). Bruxelles:Peter Lang.
  • Andersen, P. B. (1997). A Theory of Computer Semiotics: Semiotic Approachesto Construction and Assessment of Computer Systems. Cambridge:Cambridge University Press.
  • Antoniazzi, A. (2015). Dai Puffi a Peppa Pig: media e modelli educativi. Bologna–Roma: Carocci.
  • Audet, R., Saint-Gelais, R. (a cura di). (2007). La Fiction, Suites et Variations.Québec e Rennes: Éditions Nota bene e Presses universitaires deRennes.
  • Barthes, R. (1970). S/Z. Parigi: Éd. du Seuil.
  • Beseghi, E., Grilli, G. (a cura di). (2014). La letteratura invisibile: infanziae libri per bambini. Roma: Carocci.
  • Blezza Picherle, S. (2004). Libri, bambini, ragazzi: incontri tra educazionee letteratura. Milano: Vita e pensiero.
  • Bolter, J. D., Grusin, R. A. (2000). Remediation: Understanding New Media.Cambridge (USA): The MIT Press.
  • Bouchardon, S. (2009). Littérature numérique: le récit interactif. Parigi: HermèsScience: Lavoisier.
  • Cotton, B., Oliver, R. (1993). Understanding Hypermedia: from Multimedia toVirtual Reality. Londra: Phaidon Press.
  • Delany, P., Landow, G. P. (a cura di). (1991). Hypermedia and Literary Studies.Cambridge (USA): The MIT Press.
  • Dusi, N., Neergard, S. (a cura di). (2000). Sulla traduzione intersemiotica. Versus.
  • Quaderni di studi semiotici, nn. 85–87. Bologna: Bompiani.
  • Eco, U. (2012). Dire quasi la stessa cosa: esperienze di traduzione. Milano:Bompiani
  • Faeti, A. (2011). Guardare le figure. Gli illustratori italiani dei libri per l’infanzia. Roma: Donzelli.
  • Genette, G. (1982). Palimpsestes: la littérature au second degré. Parigi: Éd.du Seuil.
  • Gervais, B., Xanthos, N. (1999). “L’hypertexte: une lecture sans fin”. In A. Vuillemin e M. Lenoble (a cura di), Littérature, informatique, lecture. De la lecture assistée par ordinateur à la lecture interactive (pp. 111–125). Limoges: Pulim.
  • Jewitt, C., Kress, G. (a cura di). (2003). Multimodal Literacy. New York: Peter Lang.
  • (2012). Ad occhi aperti. Leggere l’albo illustrato. Roma: Donzelli.
  • Helbo, A. (1997). L’adaptation: du théâtre au cinéma. Parigi: Armand Colin.
  • Kendeu, P., Lynch J. S., Van der Broek, P. W., Espin, C., White, M. e Kremer,K. E. (2005). “Developing Successful Readers: Building Early Comprehension Skills through Television Viewing and Listening”. Early Childhood Education Journal, n. 33, 91–98.
  • Landow, G. P. (1992). Hypertext: the Convergence of Contemporary Critical Theory and Technology. Baltimora (USA): Johns Hopkins University Press.
  • Lebrun, M., Lacelle, N., Boutin, J. F. (a cura di). (2012). La littératie médiatique multimodale: de nouvelles approches en lecture-écriture à l’école et hors de l’école. Québec: Presses de l’Université du Québec.
  • Louichon, B. (2015a). “Le patrimoine littéraire : un enjeu de formation”. Trema, n. 43, 22–31.
  • Louichon, B. (2015b). “Le patrimoine: du passé dans le présent”. In M. F. Bishop e A. Beladjin (a cura di), Ecole et patrimoines littéraires (pp. 94–107). Parigi: Champion.
  • Manresa, M. (2015). “Traditional Readers and Electronic Literature. An Exploration of Perceptions and Readings of Wigital Works”. In M. Manresa e N. Real (a cura di), Digital Literature for Children. Texts, Readers and Educational Practices (pp. 105–120). Bruxelles: Peter Lang.
  • Murray, J. H. (1997). Hamlet on the Holodeck: the Future of Narrative in Cyberspace.Cambridge (USA): The MIT Press.
  • Ramada Prieto, L., Reyes López, L. (2015). Digital Migrations: Exploratory Research on Children’s e-lit Reading Profiles. In M. Manresa e N. Real (a cura di), Digital Literature for Children. Texts, Readers and Educational Practices (pp. 121–136). Bruxelles: Peter Lang.
  • Real, N., Correro, C. (2015). Digital Literature in Early Childhood. Reading Experiences in Family and School Contexts. In M. Manresa e N. Real (a cura di), Digital Literature for Children. Texts, Readers and Educational Practices (pp. 173–189). Bruxelles: Peter Lang.
  • Ryan, M.-L. (2015). Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media. Baltimora (USA): Johns Hopkins University Press.
  • Saemmer, A. (2007). Matières textuelles sur support numérique. Saint-Etienne:Publications de l’Université de Saint-Etienne.
  • Saint-Gelais, R. (2011). Fictions transfuges: la transfictionnalité et ses enjeux.Parigi: Éd. du Seuil.
  • Salviati, C. I. (2002). Raccontare destini. La fiaba come materia prima dell’immaginario di ieri e di oggi. Torino: Einaudi.
  • Sheppard, D. (2014). “Reading with iPads – the Difference Makes a Difference”. Education Today, n. 3, 12–15.
  • Terrusi, M. (2012). Albi illustrati. Leggere, guardare, nominare il mondo nei libri per l’infanzia. Roma: Carocci.
  • Turrión Penelas, C. (2015). “Electronic Literature for Children. Characterising Narrative Apps (2010–2014)”. In M. Manresa e N. Real (a cura di), Digital Literature for Children. Texts, Readers and Educational Practices (pp. 87–102). Bruxelles: Peter Lang.
  • Yokota, J., William, T. H. (2014). Picture Books and the Digital World: Educators Making Informed Choices. The Reading Teacher, n. 68.8, 577–585.
  • Van den Broek, P., Kendeou, P., Kremer, K., Lynch, J. S., Butler, J., White,M. J. e Lorch, E. P. (2005). “Assessment of Comprehension Abilities in Young Children». In S. Stahl e S. Paris (a cura di), Children’s Reading Comprehension and Assessment. Center for the Improvement of Early Reading Achievement (pp. 107–130). Mahwah, NJ: Lawrence Erlbaum Associates.
  • Zytnik, M. (2014, settembre 29). School Report for Apple App Store and Google Play [Blog] Disponibile da: https://www.adjust.com/company/overview/2014/09/29/kids-apps-report-apple-itunes-google-play/

Opere ipermediali:

  • Amico ragnolo, Five5ifty, 2014.
  • Cappuccetto verde, Boboka, 2015.
  • I cant wait, France Télévision, 2013.
  • Le Horla, L’Apprimerie, 2014.
  • Iole, la balena mangiaparole, Giangiacomo Feltrinelli Editore, 2013.
  • Les jeux du livre des bruits, Europa Apps, 2011.
  • LilRed, Brian Main, 2012.
  • Love, the App, Pablo Curti, 2014.
  • Lupo e i dolcetti allo zenzero, Blue Quoll, 2012.
  • Pinocchio, Elastico, 2011.
  • Voyage au centre de la terre, L’Apprimerie, 2012.
  • Le Horla, L’Apprimerie, 2014.
  • Un jeu, Bayard, 2011.

Edizioni cartacee:

  • Bravi, S. (2004). Le livre des bruits. Parigi: Loulou et Ecole des loisirs.
  • Cali, D., Bloch, S. (2005). Moi, j.. Parigi: Sarbacane.
  • Collodi, C. (1977). Le avventure di Pinocchio. Milano: Ed. A. Vallardi. A. Garzanti.
  • Francella, G. (2013). Amico ragnolo. Firenze – Milano: Fatatrac.
  • Marchegiani, G. (2015). Iole, la balena mangiaparole. Milano: Gribaudo.
  • Siff, L., Vanni, G.B. (1964). Love, the App. New York: George Braziller.
  • Tullet, H. (2010). Un livre. Dijon: Talant: Les doigts qui rê

Wiadomość do:

 

 

© 2017 Adam Marszałek Publishing House. All rights reserved.

Projekt i wykonanie Pollyart

Korzystając z naszej strony, wyrażasz zgodę na wykorzystywanie przez nas plików cookies . Zaktualizowaliśmy naszą politykę przetwarzania danych osobowych (RODO). Więcej o samym RODO dowiesz się tutaj.